Say what you will about Michael Moore — as if it hasn’t already been said, and not at all from a single side of the two-party battle line — but the man knows ho...
Quentin Tarantino’s love of genre cinema manifests itself in retention and expansion: while he understands that the homaged works were often built to hit a base...
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory...
When the year-end catch-ups are done and the paint's still wet on your 2016 viewing log, is there any better way to begin twelve months of movies than Orson...
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you'd like to submit a piece for consi...
We saw some great films at last year's Berlinale; few left as large an impression as Pablo Larraín's The Club. And while this experience may sound emotional...
We weren't over-the-moon enthusiastic about David O. Russell's Joy, which is hardly any reason to veer away from a chat between the helmer and Mad Men creat...
Earlier this month, we told you about an upcoming digital restoration of Jean-Luc Godard's Pierrot le Fou, the existence of which I found a bit dispiriting ...
Werner Herzog is no less a showman than he is an artist (some would readily say more so), making it no surprise that his film school is driven by the same wil...
